Spring/Summer 2020 Part I by Scarlette Magazine

SCARLETTE ISSUE XVII, Spring/Summer 2020, Part I

uncovering things unsaid: the beginning of change

executive board Editor-in-Chief Vice Editor-in-Chief Advisor Director of Finance Director of Layout & Design Director of Graphic Design Director of Journalism Director of Style Director of Communications Director of Social Engagement Director of Digital Media

Philip Bradshaw Nicole Merritt Alexandra Suer Archita Rout Nataliya Bystrova Emily Zigo Katie Chung Syndey Smith Audrey Villarosa Marissa Mariner Emma King

letter from the editor

elcome to Scarlette Magazine! Our mission at Scarlette is to showcase THE Ohio State’s individuality through fashion, art, words, and other outlets. This semester has been one of the craziest semesters in the history of Scarlette. First and foremost, we’ve decided to bind our spring release into a cohesive theme -- Unmentionables. The things that are under the radar, under-rated, the things that should be mentioned about humble entities, the subtle things, the things that don’t get attention… you get the idea. This team has worked all semester both in Columbus and in quarantine and it would be un-unmentionable if I didn’t recognize the team’s devotion to this magazine. The people that have put their sweat, grit, creativity, thoughts, and love into this magazine are the future leaders of the fashion world. They’ve conquered the logistics of our recent growing pains and despite being faced with midterms, classes, and a global pandemic, they continued to put their effort into these pages. I hope that you feel inspired and develop new perspectives on the things within these pages. Enjoy this semester’s release of Scarlette Magazine!

cover model: Chrissy Fears [NUDE Shoot]

Philip Bradshaw

IN THIS ISSUE... PART I

04 10 14 22 26 40 42

Wildflower The BIG Favorite PLASTIC Dirty Dusts NUDE Don't. Call. Me. Baby. Creative Drive

PART II

2 4 14 16 28 29 30 32 44

It's the Little Things Party Budget Wardrobe Versatile Outfits Cruelty-Free Makeup Fashion Rules Dark Side of Fashion A Message from Interior We are SCARLETTE

Wildflower You know you are my favorite fantasy A fatal love song My wildflower

Photographer: Archita Rout, Brigitte Tohm, Philip Bradshaw Lyrics: 5 Seconds of Summer Shoot Lead: Katie Vatke Makeup: Katie Vatke Models: Audrey Villarosa, Josh Renner, Katie Vatke, Nicole Merritt, Paavan Patel, Sasha Hordiychuk Layout & Design: Nicole Merritt

Innovation in the Face of Crisis: Eleanor Turner Prepares to Launch Sustainable Clothing Line author: Miranda Lipton | photography: Augustine Wong | article layout & design: Nataliya Bystrova

leanor Turner was two years old when she first realized her love for colors, fabrics and textiles. She often accompanied her mom on trips to an interior design store in their hometown of Lynchburg, Virginia, and would sit with huge piles of textile books as her mom shopped. As she flipped through the pages, a lifelong passion began to sprout. “When I got older I started getting more interested in how fabric would hang and move on people,” Turner said. “When I was eight I started sketching and someone told me I could make money doing it. My little eightyear-old mind was blown and simultaneously made up that I was going to pursue a career in fashion.” She hasn’t veered off that path since. Now, with over twelve years of experience in the fashion industry, Eleanor is in the midst of reviving what was once her great grandfather’s clothing company in the 1930s – 60s. The Big Favorite, a clothing brand aimed at engineering recyclable clothing at a mass scale, is a continuation of her family’s legacy. “I followed my dream. I went to SCAD (Savannah College of Arts and Design) and I later found out that my great grandfather was a textile and manufacturing entrepreneur back in the 30s – 60s,” Turner said. “This industry is quite literally in my blood.” Turner graduated in ’08, and in an unfortunate parallel to the graduating class of ‘20, economic conditions made job hunting unusually difficult. “I had to get really creative with how to find a job,” Turner said. “And that was through networking. I reached out to everyone I could think of just to get my foot in the door.”

She took her first step into the industry with an unpaid internship at Tommy Hilfiger. “That internship, which was in a windowless closet full of clothes, turned into one of the best jobs I’ve ever had; that was working under the PR Director as his Direct Assistant and re-launching the Tommy Hilfiger Runway Collection.” Turner went on to work at Tory Burch and then later J.Crew. Her dream was to work with Mickey Drexler, former J.Crew CEO, and that dream came true. Throughout her time with the company, she worked to develop a personal relationship with Drexler. When she left J.Crew in 2016 to co-found a clothing company, Argent, Drexler was one of her primary advisors, along with Tommy Hilfiger. “For the first year of Argent, I worked out of my 350 square foot apartment in the East Village of New York, schlepping fabrics through the garment district, developing relationships with factories, and working with fabric vendors and pattern makers to produce all the collections. It was a total labor of love. It was amazing to be able to empower and dress women like Hillary Clinton, Amy Poehler and Awkwafina. It was such an incredible experience to be able to build all of that in New York while my co-founder was working in San Francisco. We had so much fun.” Her co-founder is carrying Argent on while Eleanor steps away from her day-to-day role to revive The Big Favorite.

I knew I wanted to use my creativity to

solve problems

not to create or perpetuate them. 12

Her well-established connections and knowledge of the industry are fundamental as Eleanor navigates the murky waters of producing ethical and environmentally friendly fashion. The conversation of sourcing sustainable and ethical materials is paramount in the fashion industry today, though the action to back it is subordinate. “I think everyone can do it, it’s just that they haven’t committed to it yet. By leveraging The Big Favorite as a brand, we can educate customers on the importance of not throwing their undergarments away at the end of the day. That’s why it’s really important to me to set that example and prove that we can build successful businesses that are good for people and good for the planet. The first step to change is awareness, so we need to create awareness and build a community alongside that.” Being immersed in the problem inspired Eleanor to be a part of the solution. She deemed these issues, “the fight of our generation.” Recycling, in any industry, is the future of consumerism. “When you are working for someone else you’re able to look away. But when you’re working for your own company, you can’t. I knew I wanted to use my creativity to solve problems, not to create or perpetuate them. Because undergarments can’t be resold or donated, they create a lot of trash. From my estimations, we’re talking about 11 million pounds of undergarment textile waste daily in the US. I wanted to create a beautiful cotton product that we will take back at the end of the day and recycle it into new yarn.” As an entrepreneurial spirit, Eleanor jumped at the opportunity to enter the world of recyclable fashion, a field that will become less niche as awareness spreads and the environmental crisis intensifies.

She noticed a gap in the fashion industry, “white space,” as she called it. Not only was there a lack of cotton undergarments marketed in the shopping districts in NYC, but those that were being sold were massively wasteful at the end of their cycle. That realization was the impetus for The Big Favorite: a brand that uses a circular system to reduce waste while establishing a platform to educate on the issue and raise awareness. “We have to work really hard to bring awareness to the problem because a lot of people can be derailed by fear. We need to remind people that doing something meaningful is an option. We don’t need to be consumed by fear and the media right now, we can actually look for opportunities and innovate in the face of crisis.” One short-term goal that Eleanor mentioned is popping up at campuses across the country, including Ohio State, where students can drop their old undergarments off for The Big Favorite to recycle. She will then work with third-party textile recyclers to re-spin the textiles into new yarn. Through exhaustive networking and connecting, Eleanor has developed a solid relationship with her suppliers, assuring that her products are sourced and manufactured to ethical standards. “I fly down to Peru and meet with everyone to see what the process is like. I talk to them about their wages and pair them against the living wages in the area. I make sure that all the suppliers there are committed to an initiative to keep the planet healthy.” Eleanor has decided to postpone the launch date of The Big Favorite as the plight of Coronavirus overwhelms the country and the world. She plans to use this time to think, plan, and build a community that she can speak to when the time comes to launch.

Follow The Big Favorite on social media to stay up to date with launch date information and educational content on how to create a greener future. While you wait, consider these two pieces of advice from Eleanor to shop smartly and inspire change: Find a brand - and this can be any brand, not just small businesses who is trying to move the needle in the right direction, and support them. Pick a problem, put your thinking cap on, and get passionate about something. It’s so important now more than ever.

p l a s t i c

Photographer: Amanda Miller Shoot Lead: Makayla Grim Stylist: Emily Zigo Makeup Artist: Makayla Grim Models: Lindsey Heben, Marissa Mariner, Noah Jagielski Layout & Design: Philip Bradshaw

D I RT Y The Secret Hidden Behind Full Coverage Foundations

article: Makayla Grim | photography: Mike Ko | layout & design: Nicole Merritt

It’s the industry that, for the past 10 years, has taken the world by storm. Flaunting its far-reaching inclusivity and loud social awareness, the makeup world has become one of the most popular facets of consumerism in the 21st century. But behind the multitude of glistening glitters and shimmering highlights, there hides a much darker secret not even the best concealers on the market can begin to cover. One of the most common ingredients found on the labels of millions of makeup products is mica. The naturally radiant mineral can be found in anything from lipstick, to eyeshadow, to foundation in both the drugstore and high-end price ranges, so its popularity is neither new nor secret. Sadly, what few realize are the heartbreaking ways in which the mineral is mined: underpaid labor in worse-than-deplorable conditions, mostly completed by children as young as five years old.

Over 70% of the mica sold to be formulated into cosmetics is mined from what’s known as the “mica belt” in India, where the soil is the richest in mica found on earth. Like every other natural resource found in copious

DUSTS

amounts, there was someone who—becoming greedy to obtain every bit of the material as fast as possible—cut corners and slipped around any regulation in place, if there were any.

The discovery of this mica-rich part of India was no different. With more than 70% of the mica exported from India being mined in two regions— Jharkhand and Bihar—the government was unable to enforce the miniscule amount of regulations they had in place for the miners within a compact area, leaving a big gap to be filled with illegal child labor, and an entire system of organizers and enforcers dubbed the “mica mafia.” Considering the narrow variety of natural resources available to be harvested from India, the people living in the villages surrounding the mines—regardless of age—have

no other choice other than the mica mines to provide for themselves and their families.

Though this inhumane exploitation is incredibly immoral for any person of any age, it is especially sad that so many children are also forced into this rough industry from such a young age. Pulling their focus, time and ability away from a chance at education, these children walk miles alongside their parents each day to arrive at work rather than traveling to school. Not only is an academic life taken from these children, but so is their physical life. The mines—being unregulated—are rarely supported appropriately, causing collapses to be so common there’s a set rate the family gets paid for each death. Children are also forced to wedge their bodies into the small caverns adults can’t fit inside, doubly risking 23

Pulling their focus, time and ability away from a chance at education, these children walk miles alongside their parents each day to arrive at work rather than traveling to school. 24

their chances of being trapped due to a collapse. The childrens' lungs are exposed to toxic dust that can cause infections and permanent lung damage, all for less than 50 cents a day. But with no other place to work, and the universal human need for food, water and shelter, these children are forced into such an environment from too young an age. All of this information may seem depressing and hopeless; and while a withdrawal of the cosmetic companies purchasing mica from the mines using child labor would cause a collapse of the community economically, people outside of these regions have created clever ways to go around a full collapse to help remedy the situation. Many organizations have been created to help fight the labor injustice of the mica industry in these areas, one incredibly powerful example being the Responsible Mica Initiative (RMI). RMI was created by a group of people who wanted a transparent, ethical supply chain within the next few years, to be implemented as a truly defined business practice never-beforeapplied to the mica industry.

With some of the biggest cosmetic conglomerates as members, RMI brings in over $900,000 in membership fees each year to complete their goal. While they aren’t far past the planning stages, they are fighting hard to find a permanent solution to end these problems, rather than monetarily fixing it for a short period of time. There are also many organizations—like the Kailash Satyarthi Children’s Foundation and Bachpan Bachao Andolan—working to give children working in these mines a community where they can be confident, and stand up for themselves. With so many choices made by adults that directly impact their lives, children need an open environment to communicate with adults and community leaders what needs fixed, and these organizations are working to make that happen. Though their history is bleak, the future for the mica industry is on its way towards a much more positive initiative. Many are working together to fix these injustices, and many large companies are joining the fight as well. The facts and statements above may be hard to read, but people need to hear them to ignite a passion to join the initiative and spread awareness to others innocently ignorant to what's happening behind the powdery screen of their makeup products.

Photographer: Philip Bradshaw Shoot Lead: Isabella Nowak Stylists: Amanda Toolis, Brittany Marcum Hair & Makeup: Arielle Amina, Hannah Mayle, Maggie Li Models: Alek Prus, Arielle Amina, Brittany Marcum, Chrissy Fears, Hannah Mayle, Isabella Nowak, Quingyang Sui, Ty Nock Layout & Design: Philip Bradshaw 27 Location: Creative Drive

Donâ&#x20AC;&#x2122;t. Call. Me. Baby. article : Lindsey Heben graphics: Ellie Armstrong layout & design: Ellie Armstrong

he gets called to the principal’s office and is told her shoulders cannot be showing—she must go home and change before she can return to class. She is thirteen. She is out at her first college party when the cute guy she had been talking to all night decides to slip his hand underneath the jean miniskirt she was wearing. When she hits him away and shows her anger, he shrugs and says maybe she should have worn a different outfit then. She is nineteen. She sits in the chair at her office’s conference table, waiting for her turn to speak. As she announces the new budget proposal she’d been working on for weeks, she can’t help but notice the men paying more attention to her chest than her words. But it does not matter how old she is. Because things like this have happened since she was a child, and will keep happening as she ages. Her stories might even strike up an image in your head—an experience you’ve had, a person you know—because things like this happen all the time. To girls of all ages, all backgrounds, all over the world. It seems as though no matter what we wear, we will be sexualized. Seen as objects rather than people with ideas, feelings, boundaries. The reality that needs to be realized, however, is that no matter what she wears, no woman should be sexualized. What the sexualization of fashion ultimately stems from is the unequal power structure that has existed between men and women for centuries and that still exists today. When marriage existed purely as a business transaction, women were seen as property. They were judged based on their looks and childbearing abilities. Their sexualization was all to which they could expect to be entitled. However, even though the utility of marriage and relationships has changed over time, the implicit regard for women as objects to be freely looked at and had has not fully left the discourse. The problem is perpetuated in our schools, in our workplaces, in the media; dress codes we set for our young, impressionable children foster the idea that the female must cater

to the man’s inability to separate her from her appearance. Studies show that such norms stick with girls as they get older, but it is crucial to realize that they also stick with boys—carrying on into their adulthood, influencing the way they believe they are allowed to act in regard to the opposite sex. Workplace dynamics are often wrought with the sexualization of female workers, and in extreme cases, their opportunities being affected by the sex they indicate on their applications. The media continues to broadcast depictions of women that degrade who they are, whether it be through video games, movies, TV shows or otherwise. Once again, exposure to these types of norms of behavior and exposure stick with people, dictating their behavior and perception of women and their worth We still see cases today, much more often than we should, of sexual assault and rape that is justified on the basis of a woman’s outfit. “She was asking for it,” they claim, blatantly ignoring the very definition of consent. I would be remiss not to mention how such cases affect men heavily as well, further emphasizing the point that the unwanted over-sexualization of people or their clothing is not a gender issue. It does not leave out one part of the population because it targets another—it is a universal issue that does not deserve a spot in our school dress codes, our news headlines, or our societal norms at all. Clothing and fashion are means of expression, means of empowerment. It is how we show who we are, often making us feel good about ourselves—confident. I work hard for the body I have, giving it the nourishment and care it needs. If I want to walk around in a short skirt and tight shirt because that is what makes me feel good, I have every right to do so. That is how fashion should be treated, not as just another thing that can be taken away from us. That is the attitude that should be nurtured in school-age children, and carried on into the workplace and every other realm of society. Fashion is a wonderful tool to be entitled to—no matter the situation, no one should be sexualized for it.

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